Podcasts about Wolf House

Today on the show, Mike has been thinking about Denethor, and Andy wants to transform the show into a movie and entertainment news show. Andy makes a Skyrim-sized revelation, and Mike watched some boxing. They also chat about Rings of Power, Grand Elfs, and how Lord of the Ring's characters get their names. Mike and Andy talk about upcoming Star Wars trilogies that are never going to get made, Kung Fury 2 speculation, and the new Wolf House picture! This episode got 40/40 on Famitsu! You can support Beyond Synth on Patreon: www.patreon.com/beyondsynth or PayPal: www.paypal.com/paypalme/beyondsynth Don't forget to check out all the awesome artists featured on today's show! EhRah - “Protos Lux” https://soundcloud.com/ehrah https://ehrah.bandcamp.com/music https://www.instagram.com/ehrah_music/ https://www.youtube.com/channel/UCSrsVnM7p1FE7W1ABEbaKtQ https://www.facebook.com/EhRah.Music https://open.spotify.com/artist/2pi1bIZuuyoEGznPUzDKm1 Code64 -“ Lacombe” https://soundcloud.com/code64 https://code64official.bandcamp.com/ https://open.spotify.com/artist/35evikNPeHg0dD7x69l1u0 https://www.instagram.com/Code64music/ https://www.facebook.com/code64music/ LAU & AKRAS - “Laser Eyes” https://soundcloud.com/laufares https://laufares.bandcamp.com/ https://open.spotify.com/artist/3i1ZPTMkrfR7cAHBY77Bz4?si=mr0_3YaiTq-x5mU9_Qfgaw&nd=1 https://www.instagram.com/laufares/ https://www.youtube.com/channel/UCGB0e8ySGsAkKO6X9Rwfo_g https://www.facebook.com/laufaresmusic AKRAS: https://olliakras.com/ https://www.instagram.com/akrasmusic/ https://www.facebook.com/olli.akras/ https://open.spotify.com/artist/526l83JGpr5wgOKWHVSnWN Chill Collins - “Black Steel” https://xchillcollinsx.bandcamp.com/ https://open.spotify.com/artist/3XXdAW7R4F2otC8YcqWaQZ https://www.instagram.com/chill_collins/ https://www.youtube.com/innerspacemusac https://www.facebook.com/xChillCollinsx Gryff - “Losing Touch (Feat. Max Cruise)” https://soundcloud.com/gryffau https://gryff.bandcamp.com/music https://open.spotify.com/artist/3M4MXoiDxsDBq9Cm3vKNOk https://www.instagram.com/gryffsynth/?hl=en https://twitter.com/GryffSynth Max Cruise: https://soundcloud.com/maxcruisemusic https://maxcruisemusic.bandcamp.com/ https://open.spotify.com/artist/5qy7shkCBvtMY1NLS9BREl https://www.instagram.com/maxcruisemusic/ https://www.facebook.com/maxcruisemusic https://twitter.com/maxcruisemusic Pauliphoo - “Timelapse” https://pauliphoo.bandcamp.com/music https://open.spotify.com/album/2P4fqnvTlL4eLT2kYeR8Su https://www.instagram.com/pauliphoo/ https://www.youtube.com/@pauliphoo9825 Sines (Feat. Kitty Richardson) - “Something In The Way” https://jasonwann.bandcamp.com/ https://www.instagram.com/sinesband/ https://open.spotify.com/artist/3lvUccygDYAf3ElaozgeQT https://www.instagram.com/jasonwannmusic/ Kitty Richardson: https://www.instagram.com/scarlettmasquerade/ https://open.spotify.com/artist/1IGMdYXlrw4OYEx74Q1Vi8 https://www.youtube.com/c/scarlettmasquerade Damokles - “Dragonfly” https://soundcloud.com/damokles https://damokles.bandcamp.com/releases https://open.spotify.com/artist/7mcwUzzTMmL4M9Xh959CDK https://www.facebook.com/DamoklesSword https://twitter.com/DamoklesSword Lee Rosevere - Beyond the Stars http://leerosevere.bandcamp.com https://www.instagram.com/leerosevere/ https://www.youtube.com/@LeeRosevere/videos https://twitter.com/LeeRosevere Bending Grid - Lost In Space (feat. Violet Fears) https://bendinggrid.bandcamp.com/ https://bendinggrid.com/ https://www.instagram.com/bendinggrid https://www.youtube.com/channel/UCM9wWfrcir5TjZW_BMKSizA https://www.facebook.com/BendGrid/ Violet Fears: https://violetfears.bandcamp.com/ https://soundcloud.com/violetfears https://www.instagram.com/violetfearsofficial/ https://www.facebook.com/violetfearsofficial/

Hope you all enjoy our audio commentary for Agents of Shield.

大家好，欢迎来到新一期泉博客。本期我们请来了动画艺术家白兔，与我们一起聊聊她的创作和探索。 白兔是一位目前驻地爱沙尼亚的动画艺术家，创作当中有许多将陶瓷偶造像与手工影像结合的项目。白兔对于民俗、民间传说、神话等等也有浓厚的兴趣，作为艺术创作的一部分，白兔回收了许多二手民俗物件，包括玩具与二手布料，同时也为各种物件写作故事，制作动画。 在本期节目中，我们与白兔聊天的内容从她的创作延展到对“民俗”的理解，以及艺术家在创作中如何理解“民俗”，如何把握在地文化和自己创作的关系以及距离；民俗如何具有当下性，艺术家的创作作为一种正在进行时，和“民俗”又如何同步；“偶”作为动画制作者的小主角，如何具有自己的自主性，我们可以如何去让”偶“感到舒服。 这是一期让两位主播非常激动的节目，在节目当中发言的时候有种本能的兴奋，如果有措辞和表达不够到位的地方，中英夹杂的地方，或者过于直接以至于有些冒犯的地方，还望各位听众海涵。这是一期非常贴近“泉”播客初心的节目，就是希望为大家提供一些生活的灵感和幽默感，还希望大家喜欢！ 白兔的个人主页：yiyangsun.com 白兔作品近期在不同剧场的放映信息 Breed 咘哩嘚 日本新千岁空港动画节-日本北海道-2024 11/2-11/6 费那奇国际动画节-中国北京-2024 11/15-11/18 “碎片具身”——第七届南京当代动画艺术文献展 暨中国当代动画艺术资料馆＆斯图加特学术计划-中国南京-2024 11/1 爱知县立艺术大学（AUA） 当代爱沙尼亚动画放映 11/30 斯洛文尼亚动画节-斯洛文尼亚-卢布尔雅那-2024 12/2-8 呱 Frozen Frog 展览 最接近月亮的十个时刻 有仙桃-北京市朝阳区酒仙桥798艺术区2街有仙桃 点一个汉堡 Burger Order IIF上海国际插画艺术节 11/22-11/25 愚鱼寓 Foolish Fish Fable *pre production分享 - 斯洛文尼亚动画节-斯洛文尼亚-卢布尔雅那-2024 12/2-8 联系白兔的方式 小红书： yiyangsun Ins：yiyangsunyiyang 个站：yiyangsun.com 一些白兔已经完成的项目 本期节目中提到的书影音 《狼屋》（The Wolf House） 《关于我家的一切》（No Dogs or Italians Allowed） 《逃亡》（Flee） 《The Shape of Time》 - George Kubler 《日本手工艺》 - 柳宗悦 感谢大家收听！如果有任何想对我们说的话，欢迎给我们写信，我们的邮箱

The Scary Six gets serious with an IBRT classic. Abandoned houses on the lake, international controversy and werewolfs? It's all in #3 in our countdown, 'Wolf House'.

A pre-recorded episode for you fine folks as Jamie and Tony are off at a wedding this week. Instead of inviting a guest, Jamie gives Tony an Agents of SHIELD quiz! Follow the podcast and engage with us on socials @LITTOHPod.  Our amazing logo was created by Stephanie - @EclecticMuses on socials & our theme music is by Ryan Miera of Yellow Pills - @YellowPillsMusic on Insta

A pre-recorded episode for you fine folks as Jamie and Tony are off at a wedding this week. Instead of inviting a guest, Jamie gives Tony an Agents of SHIELD quiz! Follow the podcast and engage with us on socials @LITTOHPod.  Our amazing logo was created by Stephanie - @EclecticMuses on socials & our theme music is by Ryan Miera of Yellow Pills - @YellowPillsMusic on Insta

Welcome to Bad Dad Rad Dad, where Kylie and Elliott talk about the movies they watch each week while searching for better cinematic dads. Along the way, they think about how much they love animals, fall in love with Ripley, reflect on the meaning of spaces, and revisit some cringey (but amazing) nostalgia. This week's movies are: Chicken Run (2000), Alien (1979), The Wolf House (2018), and Spider-Man (2002).Follow along onInstagram: @baddad.raddadLetterboxd: kylieburton Letterboxd: ElliottKuss Hosted on Acast. See acast.com/privacy for more information.

Mrparka's Weekly Reviews and Update Week 364 (05.04.2024) (Narc 4K, Righting Wrongs, Wolf House) www.youtube.com/mrparka https://www.instagram.com/mrparka/ https://twitter.com/mrparka00 http://www.screamingtoilet.com/dvd--blu-ray https://www.facebook.com/mrparka https://www.facebook.com/screamingpotty/ https://letterboxd.com/mrparka/ https://www.patreon.com/mrparka https://open.spotify.com/show/2oJbmHxOPfYIl92x5g6ogK https://anchor.fm/mrparka https://www.stitcher.com/show/shut-up-brandon-podcast https://podcasts.apple.com/us/podcast/mrparkas-weekly-reviews-and-update-the-secret-top-10/id1615278571 Time Stamps 0:00 “Narc” 4K Review – 0:53 “Night Falls on Manhattan” Review – 6:57 “The Wolf House” Review - 12:37 1982 “Hell Has no Boundary” Review –15:33 1982 “Hex After Hex” Review - 22:56 1982 “To Hell with the Devil” Review - 26:24 1982 “Till Death Do We Scare” Review - 30:37 1982 “Devil Returns” Review - 34:22 Patreon Pick “Righting Wrongs” Review - 38:37 Questions & Answers- 43:44 Top 10 of 1982 - 50:46 Patreon Drawing - 54:26 Update - 55:18 22 Shots of Moodz and Horror – https://www.22shotsofmoodzandhorror.com/ Podcast Under the Stairs – https://tputscast.com/podcast Video Version – https://youtu.be/OSA8zU7TnyE Links Arrow Video - https://www.arrowfilms.com/ Narc 4K - https://mvdshop.com/products/narc-limited-edition-4k-ultra-hd Night Falls on Manhattan Blu-Ray - https://mvdshop.com/products/night-falls-on-manhattan-limited-edition-blu-ray The Wolf House Blu-Ray - https://mvdshop.com/products/the-wolf-house-blu-ray Hell Has No Boundary YouTube - https://youtu.be/zh09OsPul7w?si=iUW3G5v44AU1QDuN Hex After Hex - https://www.imdb.com/title/tt0439496/ To Hell with the Devil - https://www.imdb.com/title/tt0082762/ Till Death Do We Scare - https://www.imdb.com/title/tt0084925 Devil Returns - https://www.imdb.com/title/tt0314228/ Righting Wrongs Blu-Ray - https://vinegarsyndrome.com/products/righting-wrongs Update Blu-Ray 1. Mom N' Pop: The Indie Video Store Boom of the '80s 2. The Other Dimension and the Films of Fabio Salerno 3. Touch 4. Paganini 5. The Tunnel + The Tunnel: The Other Side of Darkness 6. Brave Archer Collection 7. Shaw Brothers Classic Vol 3 8. The Kingdom Films Notes Narc - 2002 - Joe Carnahan Night Falls on Manhattan - 1996 - Sidney Lumet The Wolf House - 2018 - Cristóbal León/ Joaquín Cociña Hell Has No Boundary - 1982 - Yang Chuan Hex After Hex - 1982 - Kuei Chih-Hung To Hell with the Devil - 1982 - John Woo Till Death Do We Scare - 1982 - Lau Kar-Wing Devil Returns - 1982 - Chen Yao-chi Righting Wrongs - 1986 - Corey Yuen --- Support this podcast: https://podcasters.spotify.com/pod/show/mrparka/support

Hello and welcome listeners to Episode 224 of Journey with a Cinephile: A Horror Movie Podcast. In this episode, your tour guide, David Garrett Jr., moves into February with Women Appreciation - Episode #10. The first feature is going to be In My Skin (2002). I'm pairing that up with Lisa Frankenstien (2024). Both are written, directed and starring women. There's also body horror used in different ways. Also on this episode are Mini-Reviews of My Bloody Valentine (1981), The Masque of the Red Death (1964), Birdemic 3: Sea Eagle (2022), Cold Meat (2023), The Wolf House (2018) and Legion (2010). I hope you enjoy coming on this journey with me! Time Codes: Intro: 0:00 - 2:53 Mini-Reviews: 2:59 - 33:11 In My Skin Trailer: 33:11 - 35:18 In My Skin Review: 35:18 - 43:22 Lisa Frankenstein Trailer: 43:22 - 45:52 Lisa Frankenstein Review: 45:52 - 57:36 Outro: 57:42 - 1:00:47 Social Media: Email: journeywithacinephile@gmail.com Reviews of the Dead Link: https://horrorreview.webnode.com/ Facebook: https://www.facebook.com/dgarrettjr Twitter: https://www.twitter.com/buckeyefrommich Letterboxd: https://letterboxd.com/davidosu/ Instagram: davidosu87 Threads: davidosu87 Journey with a Cinephile Instagram: journeywithacinephile The Night Club Discord: Journey with a Cinephile

This month, Mary had the opportunity to sit for a talk with Chef Oscar Yip. Oscar is a culinary expert with international experience, as well as a keen sense of the ecologies of humans and food. Oscar was born in Saltillo in the state of Coahuila in Mexico, where he was raised by his Mexican mother and Chinese father. He later completed medical school at the University of Monterrey. But upon earning that degree, he realized his heart was with the culinary arts, and changed his life path. Training in Austin, Texas with a prominent restaurant group, Oscar would also land an opportunity to cook in a 3 star Michelin restaurant. Known by the name “Martin Berasategui,” it was set in the Basque country of Spain, in the town of St. Sebastian.Oscar continues deeply attuned to the intimate connection between human wellbeing and the wellbeing of the natural world. His culinary craft and practice hold this connection as a lodestar guiding his work with food as well as his presence in life. In our conversation we explore this relationship and the way it's available for anyone open to the inquiry.You can learn more about where Oscar is preparing food by contacting him through Wolf House, an event venue he established in Austin. You can also follow him on instagram at oscarmyip. Several years ago, Oscar moved out of cheffing for restaurants. Now his main focus is cooking as a private chef for high-end events. That means there's another great way to learn more about Oscar. Come to one of our Full Ecology Retreats this June on the JbarL ranch in the Centennial Valley of Montana. Oscar will be the chef for each of those, and will contribute additional guidance on food for the Full Ecology Solstice Retreat. Check the Full Ecology website or drop an email to Meg at JbarL Ranch - meg@jbarl.com. Plan now for June, 2024. Come spend time with beautiful land, deep inquiry over Summer Solstice and, the following week, close attention to weaving your writing craft with your kinship to the natural world. ~MUSICThis episode includes music by Gary Ferguson and these fine artists.Same Bossa - Music by William_King from PixabayLatin Summer - Music by William_King from PixabayFeel Bossa Nova - Music by William_King from Pixabay

This week on the blog, a podcast interview with screenwriter and author Neal Marshall Stevens about his new book on horror, “A Sense of Dread (Getting Under The Skin of Horror Screenwriting).”LINKSA Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/Neal's book at Michael Wiese Productions: https://mwp.com/product-author/neal-marshall-stevens/Neal on IMDB: https://www.imdb.com/name/nm0139605/Brian Forrest's Blog: https://toothpickings.medium.com/Eli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastNeal Stevens Transcript JOHN: Neal, you have a really long and storied history in the horror cinema. Can you remember the very first horror movie that had an impact on you? NEAL: Well, actually, looking back, the first movie that scared the hell out of me wasn't a horror movie. It was actually a Disney movie called Johnny Tremaine. It was a kid's movie. And there was a scene in that movie, Johnny Tremaine was a kid during the Revolutionary War who knew Paul Revere, who, as you may remember, was a silversmith. And there's a scene in that movie, the British are coming and Paul Revere has got this urn of molten silver.It gets knocked onto a table. Johnny Tremaine trips and puts his hand face up into the molten silver and fries his hand. And I'm sure I know I, every kid in the audience goes like (sound effect.) But that's actually not the scariest part of the movie. Later on, surgeons are unwrapping his burnt hand, and they look down and they react in horror.His fingers have healed together, stuck together. We don't see it and they say, “Oh, we're going to have to cut his fingers apart,” which also happens off screen. And again, in our imagination, imagining no anesthesia back then, it's a revolutionary war. So, poor Johnny Tremaine has to have his healed together fingers cut apart. The memory of what that must be like has lasted. I must have been like five or six when I saw it. My parents dragged me to see Johnny Tremaine, it's a happy Disney movie. I'm 67 years old, so it's been over a half a century since I saw this movie and was appropriately traumatized by those images. So, Disney knew how to scare little kids. That's for sure. JOHN: He sure did. Wow. That's a horrible story. NEAL: Yeah. As for official horror movies that scared the hell out of me, again, we used to watch Phantasmic Features on the TV in Boston. I remember a movie called Teenagers from Outer Space. They weren't actually teenagers. They were all in their thirties. But anyway, these invaders had a skeleton ray that as they would aim it at someone, it would flash and you're instantly reduced literally to a skeleton. And they were, they didn't care who, so as soon as they come out of their spaceship, there's a barking dog—bzzzt!—and the dog falls down, reduced to bones. They didn't care. They would use it as a woman's climbing out of a swimming pool—bzzzt!—skeleton floating in the pool. The casualness with which completely innocent people are reduced to skeletons. Again, absolutely horrifying. Couldn't have been much older than nine or ten when I watched this movie. But the fact that human flesh has reduced the skeletons, but also the casual innocence of which people are reduced to flesh is stripped off their bones. It's terrifying to me. BRIAN: I wonder how you parlayed that early sense of, “Oh, I like horror movies” into, “I want to create horror as a genre. “ NEAL: Well, I was one of a whole generation of kids who got super eight cameras and made, you know, we made stop motion movies and made monster movies in their basements. Pursuant to that, I was writing scripts when I was 13 years old. I guess people now do it with phones. We didn't have cell phones back when I was a kid, but we had super eight cameras and then, you know, a little cartridge things that we'd slug in. And so, I made tons of those little stop motion movies down in my basement. BRIAN: Do you still have some of them? NEAL: I guess I may have them somewhere. I think I have an old creaky super eight projector somewhere. I don't think you can get a bulb for it anymore. BRIAN: I've got one up there. I wonder if it would work? NEAL: Yeah. That's the big question. I wonder if it would work? Heaven only knows. JOHN: But that's a great way to learn visual storytelling. NEAL: Yeah. When I ultimately went to NYU grad film and, and all the films that we shot the first year were all silent. First silent film then silent with sound effects, but you weren't allowed to use sync sound until you got to second year, if you made it that far. JOHN: Did you make it that far? NEAL: Yes, I did. I actually graduated. Back at NYU, it was a very rough program at the time. They cut the student enrollment in half going from first to second year. So it was, it was a rough program back then. JOHN: That's brutal. NEAL: Yeah. JOHN: So, you leave film school with something under your arm that you've shot. Where does that lead you? NEAL: It certainly didn't get me much in the way of employment at the time. I ended up going right back to NYU. I ran their equipment room of all things for something like six years. But during all those six years I was writing. They had like a computer that they used to turn out the schedules. And then when I weren't writing schedules, I was using that computer to write my screenplays using WordStar. If anyone remembers that old program. God, it was horrible, but it was free, because they had the equipment room. And eventually I sent some stuff to Laurel Entertainment, which is the company that did Tales From the Dark Side. And they had an open submission program. If you signed a release form, you could send them stuff. And I'd gone in and I'd met Tom Allen, who was their senior story editor. I had a screenplay and I went in and talked about it. He liked it. It wasn't for them, but then he invited me to submit ideas for their new series, their follow-up series to Tales from the Dark Side, which is a thing called Monsters. And I went in, and I pitched some ideas, and they bought one. And it turned out to be their premier episode of Monsters. And shortly after that, tragically, Tom Allen passed away. And the VP, Mitch Galen, invited me in and said, “Would you like to take over and be our senior story editor on Monstersand our other projects?” And meanwhile, you know, for the second part of that whole series, I was still working in the equipment room at NYU and also working as a senior story editor on Monsters and being their creative consultant and reading hundreds of scripts for Laurel Entertainment. And then eventually I quit the equipment room, and I went and I worked for them full time and wrote a bunch of episodes for Monsters. And I was a story editor on The Stand and The Langoliers— which wasn't so good—but on a bunch of other projects, it was just an enormous learning experience. And The Stand I think turned out really well. Other stuff, The Langoliers, did not work out really well. And a bunch of other projects that were not horror. BRIAN: Why do you think some things, especially, let's talk about Stephen King, why do you think some of those things adapted well and some didn't? NEAL: Well, The Langoliers was not, it wasn't that great. Wasn't that strong a project. And I think the idea, trying to make that and stretch that out into a mini-series. wasn't that strong. It wasn't that strong, the material wasn't really there. I think there are times when staying faithful to the material is the right approach. It certainly was the right approach with The Stand. Working with The Langoliers, you know, there were certainly elements of The Langoliers that were strong. And other stuff that was really just so-so. And I think if you'd had the willingness to step aside and do something different with it, it would probably have ended up—especially because they were expanding it into a mini-series—being just devoted to the original material, I think, ended up with a product that was really thin. Plus, we had hired a special effects company that the Langoliers themselves were just horrible. It was really substandard, honestly. So, it did not work out very well. BRIAN: I'm guessing with all these different projects you had to work on, you probably had to start dealing with types of horror and genres of horror that weren't in your comfort zone. Maybe not even what you wanted to do. What kind of learning curve was that for you? NEAL: You end up having to deal with a lot of different kinds of horror, especially with, you know, working in Monsters, where you just were turning stuff out tremendously fast. But also, I grew up with a certain kind of horror.I was never a huge fan of slasher stuff. I missed that whole era of horror. Certain kinds of movies appealed to me. That particular kind of transgressive material never really clicked. JOHN: Why do you think that is with you? NEAL: Because this simple act of repetitive bloodletting, for me, it always felt thin. I mean, it's not that I objected to explicit violence or explicit gore. I mean, I think that Dawn of the Deadunquestionably is one of the most brilliant horror movies ever made. And there certainly, George Romero didn't pull back from explicit violence. Or a movie like Hellraiser, the same deal. It's a question of how the filmmaker employs the use of graphic violence to elevate the material. What I've told people when you watch a movie like Dawn of the Dead, the first 10 or 15 minutes of that movie—which by the way, I saw when it virtually when it first came out and saw it in the theater—you had never seen anything like that opening scene in terms of graphic violence from being bitten and heads being blown off and all the rest. You were just put through the ringer, watching that opening. And after that opening, the movie was never that violent again. He never showed anything like that again.And you didn't have to, because you—having seen that opening scene, you were—you were so blown out of your seats. You said, “I'm watching a movie where anything could happen to anyone.” And that was a kind of really intelligent and that kind of thoughtful use of violence is what George Romero was always able to do. It was understanding how graphic images can affect the psychology of the viewer. JOHN: Do you think it's also that with Romero's films, they're actually about something, whereas a slasher film is really just about a body count, but with Romero, he always had another thing going. NEAL: Well, of course, I mean, no movie that isn't about anything is ever going to really, from my perspective, be worth watching. But I mean, even a movie like Hostel, which is exceptionally violent and harrowing, is certainly about something. And I think Eli Roth's movies, which get a really bad rap, are very much about something. He's got something to say with his depictions of violence and his images. Not necessarily to my taste. I certainly wouldn't say that he's not, he's making movies that are certainly about something. He's not a dumb filmmaker by any stretch of the imagination. JOHN: So, you work on Monsters, and then what happens? NEAL: I worked on Monsters. I worked there for around six years, and then they were acquired by a big studio, and they were shut down. And so, I was out of work. I'd known a woman named Debbie Dion from Full Moon. I figured, well, I'll give that a shot. I'll call her up and see, maybe I could write for a Full Moon. And so, I gave her a shot. I, you know, reintroduced myself and said, you know, “I'm looking to see if I could get some job, maybe writing features for Full Moon Entertainment, Charlie Band's company.” And they said, “Well, we pay around $3,000 for a feature.” And I said, “Well, I got paid more than that for writing an episode of Monsters. That doesn't seem like such a good deal.” And then my unemployment insurance ran out. BRIAN: Suddenly it's a very good deal. NEAL: Sounds like suddenly a very good deal. But, you know, I made it very clear that money buys one draft, and if you want to rewrite, you got to pay me again, because I knew what development was like, where they just expect draft after draft after draft, and I'd say, “I can't do that, that doesn't make any sense.” And also, having worked for Monsters, I had learned to write really fast. I could write a pass on a Monsters episode in two days, so I knew that I could write fast, because these were 80-page scripts. And so, I started writing for Full Moon, and over the course of like the next few years, I wrote something like... 50 or 60 features for Charlie Band. And a lot of them got made, because they're not wasting money on movies that don't get made. Tons of them got made. And in the midst of doing that, I was, you know, whenever I got a break writing a full movie, I would write spec scripts, you know, in the hopes I could sell something of my own that wasn't for $3,000. I didn't have an agent at that point. I didn't have a manager at that point. And so, I'm not really good making cold calls to people. It's not my thing. I just like to sit, write my scripts. I'd come home one day, and I saw my wife was on the phone having this long conversation with someone. When she was done, I said, “Well, who was that?” “Oh yeah. I called up to order something.” I said, “So she's really good at getting on the phone and talking to people and calling them.” And so, I convinced her to be my manager. So, she agreed. She changed, you know, she went out under her maiden name. She managed to get an option on a science fiction script that I'd written that, I mean, it was ultimately bought. It was never made. And then I decided, you know what? Horror is really my bread and butter writing for Charlie Band. But I don't really have a horror spec. And most of what was out those days in horror didn't really scare me that much. I should really write a script that would scare me. So, I wrote a script called Deader, which I thought had all the stuff in it that I thought was really scary. And Judy went out with that script, sent it to a bunch of people, sent it to some folks at Stan Winston's company, as they had a development deal. The producer that she talked to really liked it, asked if he could sort of slip it to some people. He did, he sent it to someone, a producer at Dimension, it's based in New York, and he really liked it. And they showed it to Bob Weinstein. Bob Weinstein called us on Sunday. Am I half awake? Talk to Judy. Because they didn't know that Judy was my wife. He said, “This is the best goddamn script I've read. I'm like three quarters away. Come in on Monday and we'll talk about it.” So, we came in on Monday and they bought the script. And of course, at that point, it sort of went all over town. And for a very short period of time, it was like the flavor of the month and everyone loved me. And I got myself an agent and got myself like three pictures. And as I was a really big, big to-do. From that, I also got 13 Ghosts. I had like a really big opinion of myself after, after that sale. JOHN: Has that been tempered since then? NEAL: I kind of got the opinion that like, wow, selling scripts is easy. People wanted to hire me because that script was super hot and was all over town. I learned subsequently there are flavors in writers, and I was like that flavor of the month. That fades and then you have to really do a lot more work to get things sold. That was a hard lesson to learn. But I've managed to keep working over the years. I've written many scripts, sold some, and it's been a decent career. BRIAN: I was just wondering, you were having all the success writing screenplays, when did you decide to make a jump to writing a book? NEAL: Over the last five or six years, I've been teaching. A woman that I knew from NYU, actually, Dorothy Rumpolsky had been instrumental in starting a screenwriting program at David Lynch Institute for Cinematic Studies. And she realized at one point that she had a number of students who wanted to work in a horror. She remembered me back from NYU many years ago. So, she got in touch with me and wanted to know if I was interested in mentoring those students. And I said, absolutely. I done some other online teaching at other places. And so, the way it works is, you fly out for an opening few days where you meet the students. And then you fly back to where you come from. They go back to where they come from. And it's all done remotely, the mentoring. And so, I've been doing that now for five or six years. And during that kind of get together, you meet a bunch of guest lecturers and other teachers, other mentors. And a number of those people had written books for Michael Wiese productions. And, in the course of chatting, they suggested, well, you, you know, “You have a kind of encyclopedic knowledge of horror and horror cinema. That might be a good book for Michael Wiese. Give them a call and see if you can come up with a pitch and an interesting take on it.” And so I did, and I called them and they responded. And so we were off to the races. JOHN: The book is really, maybe delightful is the wrong word, but it's a captivating book because as you read through it—you have outlined breaking down our different types of fears—you can immediately in your mind go, “Oh, that's what that movie was doing. Oh, that was that. That's what was happening there.” What was your research process like? NEAL: I think that the research kind of developed over the decades as I studied what made movies scary and what was working, not only in the movies that I was watching, but in the movies that I was writing. I mean, in the same way that when you work as a screenwriter, it becomes almost second nature to try to figure out what was working and what wasn't. Talking to fellow filmmakers and screenwriters, you have to say, “How many times do you watch a movie?” And a lot of times I will watch a movie 8, 10, 20 times. And there's a process that works when you watch a movie that many times, where you say “Certain things will work every time you watch a movie.”In the same way that you can watch a comedy and you can laugh every single time as certain things comes up. And other times, you start seeing the nuts and bolts and say, “Well, this is always working and here they're just connecting stuff.” And you start saying, “Ah, I get it. I see what they're doing. I see how they're taking this piece that works and this other piece that works and they couldn't quite, they kind of, they found some connective tissue to stick it together. I see exactly what they're doing.” And you start understanding—whether you're watching a comedy or you're watching a drama or you're watching a scary movie—they knew exactly how to make this thing scary. And this is how they're doing it. And they understood exactly how to make this thing scary. And it's like, ah, this is what they're using. Whether it is a spider crawling on someone, that's always going to work. Or, “Oh, I see, this is just a jump scare.” And the jump scare is, I understand, that's just, because a big bang, a loud noise, a hand reaching in from, that's just, that's always going to work. It's going to work no matter what. It's just a kind of placeholder scare, because they couldn't think of anything better. And there are movies where it's just jump scares. And you can always use a jump scare. You can sneak up on a cat and jab it and it'll jump. It's an instinctive response. And if a movie is just relying on jump scares, you know it's because they don't have anything better. They haven't got any deeper than just having the phone ring and they turn up the soundtrack. You can always get an audience to jump by putting a loud sound on the soundtrack. JOHN: Is there an example you can think of though, where there is a jump scare that you think is a genuinely good, effective jump scare? NEAL: I can think of a movie that has two really excellent jump scares. John Carpenter's The Thing. When the doctor's giving the electric shock to the guy's chest, and the chest opens and slams shut on his hand. Didn't expect it.That's a super great jump scare. It is perfectly integrated into that scene. Everyone jumps, but it's also a brilliant continuation of that scene. Second jump scare, when MacReady is testing everyone's blood. And saying, “We're going to do you next,” puts the needle in, and that thing jumps out of the Petri dish.Fantastic jump scare. We didn't see it coming. Everyone jumps. And it's again, it's perfectly integrated into that scene. So, two brilliant jump scares in what's already an incredibly brilliant movie. BRIAN: I remember watching the commentary on Jaws and Spielberg said he got greedy with his jump scares. He had the moment towards the end of the film, you remember that Jaws comes out of the water while it's being chummed. And he said he got this great reaction from the audience, and he wanted one more. And he went back, and he added in the scene earlier where the corpse face comes through the hole. And he said he never got the audience to react as well to the shark after he added in that corpse face coming through the hole of the ship. And I wondered, do you think there's a point of diminishing returns with jump scares in one movie? NEAL: I think there absolutely is. I mean—and I have no end of admiration for Jaws. I think it may be one of the most brilliant movies ever, and it certainly has stood the test of time. JOHN: So, we've each come armed with some movies here that I thought it would be fun to talk about them with you, so that you could sort of delve into the different types of fear that are outlined in the book and we'll just sort ofcheckerboard back and forth here. I'm going to start with one of my favorite sense of dread movies, and that's Don't Look Now, with Donald Sutherland and Julie Christie, directed by Nick Roeg which I saw way too young. First R rated movie I saw. I remember I knew that it was supposed to be really scary, and I went with my older brother, and we were standing in line and the seven o'clock show was letting out. And I said to my brother, “Well, it can't be that scary. They're not saying anything.” Not realizing that they had all been stunned into silence about the last five minutes of that movie. So, what are your thoughts on Don't Look Now and where does that fit? NEAL: When I talk about the sense of dread, which is what my book is about, it's the notion of those aspects of our lives that we think of as safe and secure and dependable and sacred being suddenly or unexpectedly penetrated by the unknown or the unnatural, the unexpected. And you have to say, well, what are the things that we depend on? We depend on our homes. We depend on our families. And so that relationship of parent and child, what violates that? And the loss of a child, loss is already wrenching. And so, this sense of parents having lost a child, but then this notion that, well, maybe not, maybe the child is still out there somewhere, is so deeply disturbing. And so this weird, this quest, this pursuit in them. And meanwhile, in the background, you have the sense of a killer, of killings going on. This really disturbing notion of the woman's half decayed body being pulled out of the water is just as an image is—and again, the notion of human body being reduced to mere flesh—it's deeply disturbing. And nakedness, coupled with decay, it's deeply disturbing. And all of this sort of happening in the background. We don't quite know how these pieces connect. The notion that the search for the child and the notion that there's a killer on the loose. We know, because the nature of cinematic storytelling is telling us that somehow these things are going to connect, because, I mean, in the real world, there are countless thousands of things drifting around that don't necessarily hook up. But we know that one thing is going to collide with another. And so, there's this growing sense of profound unease, because we know, somehow, this child in this Red Riding Hood cape is wandering around, it's like, is this the child? Is the child going to become embroiled in this? But what we don't, certainly don't expect is the ending that confronts us in the finale, which is so incredibly, the reversal is so terrifying and so hits us in the face of that sense of innocence—revealed in such a terrifying way—is the essence of dread. Where we expect to find innocence, we find a nightmare. JOHN: What's great about what Nick Roeg did there was—if you read Daphne du Maurier's short story—he basically shot the last paragraph of that short story. Cinematically, he figured out the way that she's laying out what's going on with Donald Sutherland's character at that moment. He figured out a way to make it cinematic. So, like you say, all the pieces suddenly fall into place in those last few seconds. And, like you said, we've been brought to this place, we had no idea that that's where it was going to turn. Neal, tell me about Enemy from Space, and what you like about that. NEAL: Enemy from Space is the second of the three Quatermass movie, adaptations of the serial. It's in the same vein as Invasion of the Body Snatchers, and all these other movies about human beings who are being invaded and infested by alien forces. In this case, over the past few years—but in the context of the story—there have been rains of these tiny little meteorites. Anyone who finds them, they crack open and what's inside infests human beings. And you can find these tiny little burn marks, these V shaped marks on them. And the parasites take them over and make them into these kind of human slaves. And the premise is they serve this larger being, this kind of group entity, and they proceed to start building these atmosphere plants, with the goal ultimately to turn the earth into a colony for these beings that come from outer space. But the notion of these human beings, they have infiltrated our government, infiltrated our community, and they gradually take people over, scary enough. And they have built this enormous plant that looks, he says, this looks just like this proposed lunar base with these giant atmospheric domes. A group of people managed to infiltrate one of these bases and he looks inside, manages to get close enough to look inside one of these domes and inside are the parasites. When they're released, they grow together into this thing that looks like a giant blob. That's what it looks like outside of the human hosts. And a bunch of these guys are trapped inside of the atmosphere of plant. And they realize this thing, they can't survive outside the human body. They need methane to breathe, because that's what their home planet is like. “What we need to do is we need to pump oxygen into this dome to kill this thing. That'll destroy it.” And voices come over to say, “Look, this guy's crazy. There's nothing inside this dome. You send some representatives over, we'll show you anything you want.” And Quatermass says, “You're crazy if you go over there, you're going to be infected. You're going to be taken over.” But they managed to divide, they send the guys over and Quatermass is pleading with them, “Listen, they're going to get on this speaker. They're going to tell you that everything is fine, but you can't listen. Don't listen to them, whatever you say.” And then they hear this sound. This hideous sound of screaming coming down the pipes, the pipes that they've been sending oxygen down to the dome. They say, “What the hell is that? What's going on?” And then they look, they see the pressure has gone way up. There's something wrong. And the pipe is burst, the pipe that's sending oxygen to this dome. And they say, “What is it? What's happened?” And they look and something is dripping down through the pipe. And they say, “What is it?” It's blood. They took the guys that they sent, and they pushed them into the pipe. They say those pipes have been blocked with human pulp in order to keep the oxygen from coming into the dome. That is one of the most, again, all you see is just these drops of blood coming out of the cracked pipe, but that has resonated as one of the most terrifying moments from any movie that I saw, again, as a little kid. I've seen the movie recently and it's still incredibly terrifying. And again, the architecture of this web of pipes, the cold black and white architecture, is horrifyingly chilling. And the notion of human beings being reduced to mere flesh, being used as material for blocking a pipe. And the pipe's only like, it's like this big. So, you can imagine this person shoved into a pipe is hideous. JOHN: It is available on YouTube if anybody wants to watch it after that. Brian, do you want to ask about folk horror? BRIAN: Actually, I was going to jump ahead just because of what Neal was just talking about. I thought this would dovetail nicely into a question I had about a fear of contagion. And you can wrap body horror into this. Movies like The Thing or 28 Days Later, or probably The Quatermas Experiment as well. How does that fear of our own bodies being infected or watching another body change or be infected in unnatural ways? How does that—I don't want to use the word appeal—but how does that appeal to our sense of dread? NEAL: Well, I think you also have to run back to one of the most common— whether it's psychological or physiological—which is obsessive compulsive disorder. You say, well, what exactly is obsessive compulsive disorder? We have built in grooming behaviors, whether it's cleaning our hands, we clean our skin. That's wired into us. And when you turn the dial up too far, that turns into obsessive compulsive, obsessive hand cleaning or scratching, itching, hair pulling, all that stuff. It's wired in behavior, in the same way that dogs will scratch, we will scratch. And so, all of that, we react to it in the same way that if you see a spot of dirt on someone's forehead, it's almost impossible to “Clean that thing off. Get rid of that thing.” I mean, we're built in a certain way to respond to distortions, infections, invasions, in the same way that if someone's eye is cocked to one side, we react to it. Someone's face is distorted. We react to it negatively. We have to work not to respond to it. It may be a bug, but it may be a feature, because we are built to respond to a diseased or distorted members of our community. It's a survival trait. And so, in some ways, horror movies respond to that. Distorted human beings, Hunchback of Notre Dame or Igor or anyone else who are distorted, deformed, limbless creatures—Freaks—are employed in horror movies in a variety of different ways. BRIAN: And it's a very different thing from seeing an arm chopped off versus seeing an arm with three hands that are all operating. Both of them is something happening to your body that you might revolt towards, but it's a very different reaction though, right? NEAL: It is, but it's—in a sense—it's all variations of the same thing. There's a central human norm, and that which varies from the human norm beyond a certain point triggers a reaction that says, “That's not the way it's supposed to be.” And it's just, eyes are too close together, eyes are too far apart, eyes are too big, or there's an extra one. There's one missing. We recoil from it. We recoil from something that is too different, too far off the norm. And of course, in strictly social terms, you can say, but why, why should we? We shouldn't really respond in that way to others who are too different. But we do respond that way, and it comes with the programming in a very real degree. JOHN: How does that connect, then, to another movie on your list, The Island of Lost Souls, from 1932? NEAL: I think it's central to that list. The notion of the difference between that which is human and that which is animal. And Moreau, who experiments with making animals into human beings, but not really. And the sort of terrifying revelation when our hero and the woman—who we know to be an animal woman, but she looks fundamentally human—escape out into the woods and come across the animal person village. And the realization to what extent Moreau has been experimenting. It's not just tens or dozens. The animal people just come flooding out of the woods. And it's just hundreds. And the extent and the depth and the kind of nightmarish quality, they're all different. They're all horrible. And it's just like, what has Moreau been doing? He experiments with these animals, gets them to a certain state, and then he just discards them and moves on to something else. This utterly careless, sadistic god of this army of nightmares. And you sort of see when they do their, you know, “Are we not men?” And you just see row upon row upon row of these hideous nightmare faces. And you just say, “My God, what has this guy been doing for years? Just making these monsters.” JOHN: It's a classically creepy movie. I do want to ask you about the classic ghost story movie, The Haunting, and what that says about our fears. If you can, maybe tie that into Ghostwatch, because there's a similar sort of thing going on there. NEAL: They're both intriguing. They both are opening us up to this notion of unseen nightmare forces, especially the original Haunting, which shows us nothing. All you ever see: Doorknob turning. A face that may or may not be in the wall. This horribly loud banging on the door. A moment where someone thinks that her hand is being held, but there's no one there. It is simply this notion of a house that is born bad, but never really fully explained. Again, you have this idea of the world itself that should be well behaved, that should be governed by comprehensible natural laws. But there's something deeper and darker and incapable of truly being understood, nevermind being controlled. And if you just prod it a little bit too much, you're going to open it up to forces that are utterly destructive and utterly malevolent. And in both of these cases, you have this man of science and his team that are going to find out. “We're going to find out for sure whether there really are ghosts, whether there really is a supernatural, whether it really is life after death. We're going to nail this down for science.” Yeah, don't do that. Don't do that. These are things that are, that are not meant to be explored, not meant to be examined. Go back. BRIAN: I'm reminded of Van Helsing's sign off on the original Dracula, where he said, “Just remember, there really are such things in this world.” NEAL: Yeah. Yeah. And, and the same thing is true in some ways on a much more terrifying scale with Ghostwatch, where it's just, it's this kind of, “It's all just fun and Halloween, we're going to explore this. It's the most haunted house in Britain.” And it's broadcasters whose faces everyone knew at the time, and they were playing themselves. Going to this haunted house where you had these poltergeist phenomena. And we're all going to, “We're going to do it live and call in with your own experiences about being haunted.” And it all just goes so horribly wrong. JOHN: Now, Neal, I just watched that for the first time this week. Heard about it for years. I had no idea that those were real broadcasters. I thought they were really good actors. But to someone in Britain watching that, those are faces they saw all the time? NEAL: Yeah. Those are real broadcasters. They had their own shows. They were real, the real deal. JOHN: Wow. I highly recommend renting it because—it'll test your patience a little tiny bit, because it is quite banal for quite a while, as they lead you into it. But now this new bit of information that these are all faces that that audience who saw it, quote unquote, live that night, it's as terrifying as I imagined the Orson Welles' War the Worlds would have been. Because it seems very real. NEAL: And apparently the way they did it, is that there was a number you could call in. And if you called in that number, they would tell you, it's like, “Don't worry, this is all just a show.” But so many people were calling in, they couldn't get through. BRIAN: This really is War of the Worlds. NEAL: So, they never were able to get to that message that would tell them, don't worry, it's all just a show. So apparently it panicked the nation, because part of the premise was at a certain point, the ghost that was haunting the house got into the show. And so, the studio itself became haunted. It was really spectacularly well done. JOHN: It is. It's great. Let's just sort of wrap up here real quick with Neal, if you have any advice for beginning screenwriter about how to best create a really powerful and effective horror screenplay, any little tips. NEAL: Well, first of all, and I touched on this before, jump scares don't work on the page. You need the loud bang. You need the hand reaching in from the side. You describe that and it doesn't work. So, you have to rely on creating that sense of dread. And while writing screenplays, you have to keep things tight. The concept, the idea—in the same way comedy screenplays have to be funny—scary screenplays have to be scary. It has to be scary on the page. If it's not scary on the page, you're not going to sell the screenplay. And that's the fundamental trick. You got to make it scary on the page. JOHN: Excellent advice. All right, let's just quickly, each one of us, tell our listeners a recent favorite horror film that you've seen in the last couple years.I'll start with you, Brian. BRIAN: Just last night, I saw Haunting in Venice. And it worked because I had seen the other Kenneth Branagh/Agatha Christie adaptations, and I was very familiar with, and you know, you already know generally that kind of detective whodunit story: it's going to be very, you know, using logic and rationality.And when they had this episode that was sort of a one off—sort of a departure from that usual way that mysteries are solved—it was very effective. I think if I'd seen it without having already watched a bunch of Agatha Christie adaptations, I would have said, “Oh, that's an okay Halloween movie.” But having seen those other ones, it was an excellent Halloween movie. JOHN: Excellent. That's on my list. The movie I would recommend, which really surprised me, my wife literally dragged me to it because it was a French film called Final Cut, which is a French remake of a Japanese film called One Cut of the Dead. At about the 30-minute mark, I was ready to walk out, and I thought, why are we watching this? And then they took us on a ride for the next hour that, it's a really good ride. It's called Final Cut. BRIAN: And this is not to be confused with the Robin Williams Final Cut from... ? JOHN: Not to be confused with that, no. Or if you can go back to the original and watch the Japanese version. But what's great about the French version is they are literally remaking the Japanese version, to the point where they've made all the characters have Japanese names. Which the French people struggle with enormously. It's a highly effective film. Neal, how about you? Take us home. NEAL: Okay. It's not a new movie, but I just saw it very recently. It is a Chilean stop motion animated film called The Wolf House. It describes the adventures of a young Chilean woman who escapes from a repressive German colony and ends up in this bizarre house in which she blends into the walls. She's escaped with two pigs who grow up with her in this house, but again, nothing, no way in which I describe it is going to convey to you how deeply disturbing and chilling this movie is. It really is quite indescribably bizarre and disturbing and just well worth your time to watch. It's not quite like any other movie I've ever seen.

[SPOILERS] What if the worst creatures imaginable were making cute little stop motion propaganda fairy tales? Hang out inside The Wolf House with Dan and Jared as they peel apart the papier mâché layers of this singular Chilean film. We discuss the horrors of children's fairy tales weaved together with real life atrocities as well as generally gush about the pure artistic splendor on display in all its grotesque glory! Please like/follow/rate up top and follow us online: X: @DanConcedes Threads: @JaredConcessions

On the 312th episode of Piecing It Together, Matt Davis joins me to talk about Beau Is Afraid. Can we make heads or tails of Ari Aster's latest? I guess tune in and find out... I'm not quite sure, to be honest. Puzzle pieces include Synecdoche New York, The Wolf House, Joker and mother!As always, SPOILER ALERT for Beau Is Afraid and the movies we discuss!Written by Ari AsterDirected by Aru AsterStarring Joaquin Phoenix, Patti LuPone, Amy Ryan, Nathan Lane, Kylie Rogers, Parker PoseyA24https://a24films.com/films/beau-is-afraidMatt Davis runs the website Shall I Stream It?Check out Shall I Stream It at https://shallistreamit.com/And Follow Matt on Twitter @MattDavisTweetsMy sixth album, MORE CONTENT is available NOW on iTunes, Bandcamp and all other digital music stores! Make sure to check it out!My latest music video “Ascending" which you can watch at https://www.youtube.com/watch?v=fypZ3Z8qeT8The song at the end of the episode is "Everything And Nothing" from MORE CONTENT.Make sure to “Like” Piecing It Together on Facebook at http://www.facebook.com/PiecingPodAnd “Follow” us on Twitter @PiecingPodAnd Join the Conversation in our Facebook Group, Piecing It Together – A Movie Discussion Group.And check out https://www.piecingpod.com for more about our show!And if you want to SUPPORT THE SHOW, you can now sign up for our Patreon at https://www.patreon.com/bydavidrosenShare the episode, comment and give us feedback! And of course, SUBSCRIBE!And of course, don't forget to leave us a 5 star review on Goodpods, Apple Podcasts, Spotify, or Podchaser!Check out The Podcast That Wouldn't Die at https://podcasts.apple.com/us/podcast/the-podcast-that-wouldnt-die/id1477564319And most important of all… Keep going to the theater to see new movies!

James Gunn And Peter Safran Unveil Their Grand DC Plan Netflix Cracking Down On Account Sharing UPDATE! Why Some Have Found The Latest Episode Of TLOU Too Saccharine  What Damian's Been Watching: One Punch Man, AoT, M3gan, Knock At The Cabin (Take Shelter is a much better ‘is the apocalypse actually happening' movie), Babylon, Skidamarink (My House Walk Through, The Wolf House, PT Gameplay, liminal spaces) What Derick's Been Watching: Women Talking, Plane, National Treasure: Edge of History, Killing Eve, Knock at the Cabin, Poker Face What Damian's Been Reading: Stella Maris by Cormac McCarthy, Annihilation, Authority, Acceptance by Jeff VanderMeer. Most Anticipated Prestigious Projects Of 2023 Letterboxd Assignments: Damian - Three Colors: Blue / Derick - Erin Brockovich Check Out Derick's Twitter  Check out Derick on Instagram  Get Dericks Podcast Underrated on Spotify or anywhere you get podcasts Write into the show at CanISaySomethingPodcast@gmail.com and @bisickle on Twitter. Subscribe on iTunes, Stitcher, Google Podcasts, and Spotify. Rate and review it on Apple Podcasts. Tell a friend, family member, or stranger. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/damian-j-sherman/support

Christian and Ian are back and coughier than ever.  We start off we a couple mini reviews before heading to a secluded island to discuss the twists and turns of THE MENU. We continue our Blindspots series and talk about the experimental stop-motion animation movie, THE WOLF HOUSE (LA CASA LOBO). We also discuss a fear of heights for other people, food critics, and sleeping in the kitchen.  We'd love to hear your thoughts, questions, or any requests you have. You can contact us at: ItsOnlyFeedback@gmail.com and on Facebook, Twitter, Instagram, and Letterboxd.

A post-WWII German village in Chile? That seems perfectly fine, and not sinister at all. Approachability: 9/10 (Beautiful, stunning arthouse creepfest) Content Warnings: Disturbing abstract visuals; Cultish emotional abuse; Based loosely on true story of a village run by a child-sexual-predator and Nazi soldier. Up Next: Dog Soldiers (2002)  RandomHorror9 T-Shirts! Hosts: Jeffrey Cranor & Cecil Baldwin (Find more of their work on Welcome to Night Vale) Editing: Grant Stewart Logo: David Baldwin Random Horror 9 Patreon Twitter, Letterboxd, & Instagram: @RandomHorror9 We are part of Night Vale Presents

Good morning, Agents of Nothing. In this episode, your commanding officers Mariah and Caroline (plus a guest appearance from Caroline's dog Chip) discuss the fourth episode of season two of Agents of Shield. Come along on our joint watch of AoS as we talk about each episode from the perspectives of a newbie and a veteran.  Please feel free to join the conversation on our socials twitter- @AgentNothingPod tiktok- @agentsofnothingpodcast  support us and leave us a voice message at anchor.fm/agentsofnothing or email us at agentsofnothingpodcast@gmail.com and let us know if there's some insane theory or unhinged acting choice you love that we don't cover.  Mariah twitter- @fullswampwitch tiktok- @submarinewarfare instagram- @submarinewarfare  Caroline twitter- @RustyPaige95 tiktok- @crazyginger995 instagram- @_rustypaige --- Send in a voice message: https://anchor.fm/agentsofnothing/message

Movies discussed: Hellraiser (2022), The Wolf House, Uzumaki, Significant Other, Right Place Wrong Tim (short) We're back in the saddle talking about the new Hellraiser, Wolf House, Uzumaki, and Significant Other. Quality is…. varied. Next episodes assignments: Werewolf by Night Halloween Ends Old People Deadstream Puzzle (short) Watch along with us if you like and we'll see you next episode. The post Episode 442 – Contactless Hellraiser Delivery appeared first on Horror Show Hot Dog.

Un podcast del fandom para el fandom y en esta ocasion hablamos sobre la Casa del Dragon!

Turn out all the lights, put on your headphones, and get freaked out with Guti, Ismael, and Ron as they discuss the 2018 Chilean stop-motion horror film La casa lobo. Follow us @reellatinos on Instagram and Twitter and email us at reellatinos@gmail.com.

David Cronenberg's return to body horror with Crimes of the Future has been as anticipated as it's been divisive. Find out what we thought about this new feature from one of our favourite directors.Also includes discussions of The Wolf House (2018), Horror in the High Desert (2021) and We're All Going to the World's Fair (2021).

The Horror Squad talk about Chilean art film The Wolf House (2018) directed by  Joaquín Cociña & Cristóbal León and written by Alejandra Moffat, Joaquín Cociña & Cristóbal León.  There are Nazis and Pigs and Metaphors. Oh my.Recommendations:Emily- Cult of the Lamb, Jan Švankmajer's Alice and Goodnight MommyBen - Anything by LAIKA StudiosJeremy - Dave Made a Maze, WolfwalkersWhere to Follow:Emily: Twitter - @megamoth, Web - Megamoth.netBen: Twitter - @BentheKahn, Web - BenKahnComics.comJeremy: Twitter - @Jrome58, Web - JeremyWhitley.comThe Podcast: Twitter - @proghorrorpod ★ Support this podcast on Patreon ★

Enjoy this sneak peek of The Wolf House episode! ★ Support this podcast on Patreon ★

Episode #241 is up- This week Matt sits down with Jackie Giroux and Caelen Perkins who make up the duo Jacklen Ro midway through the summer leg of The Howling Coyote Tour in California. Here about their roots, new record label Lolipop Records, and new insight into Dave Whitley's secret career as a baby sitter. Recorded at Wolf House Brewing in Cloverdale, CA. Check out all the info on past & future Howling Coyote Tours at HowlingCoyoteTour.Com Check out all of Jacklen Ro's music & social media links on LinkTree under Jacklen_Ro This episode is brought to you by Bullydog Coffee Company & you have the chance to get a FREE 1-lb bag-o-beans & a coffee mug by posting a Rate & Review of our show on iTunes or by tagging our show & Bullydog Coffey on a social media post- We are pleased to announce our partnership with BarkBox- Delivering 4 to 6 natural treats and super fun toys built around a surprise theme each month. Use our LINK or go to getbarkbox.com/milehigh and get a FREE MONTH of treats! The Mile High Show is brought to you by Amazon- use the Mile High Show link to do all of your online shopping & also support the show, and Audible.com – use the code MILEHIGH  at check out for your FREE audio download & FREE 30-day subscription- Code

Kevin Lovett from Wolf House Brewing is our in-studio guest today on Brew Ha Ha with Harry Duke and Herlinda Heras. Kevin was master brewer for Cloverdale Ale Co when he bought Wolf House in October 2019. He was going to open two places at once. He is inspired by Jack London, who was a Glen Ellen resident. Some other beers are also named after Jack London stories. The beer they are drinking is called Burning Daylight, which is the title of a Jack London short story. Dutch Courage is another one. We hear about how they managed to open the brewery and restaurant and then finally the music venue. This achievement has fulfilled his original goals. The Freshtival is coming up this Saturday, June 25, 2022. Check out the Freshtival page at the Hen House site for all the info. Lots of food, beer and music, including some gluten free choices, something for everybody. No beer will be older than seven days. Get tickets on Eventbrite. Kevin has brewed a special Hazy beer for the Freshtival that is flavored with some familiar and some new hops. Kevin's dad Michael Lovett was a co-founder with Don Barkley of the iconic Mendocino Brewing Co., makers of the renowned Red Tail Ale, which everyone misses. They worked at New Albion under Jack McCauliffe, the first new brewery to open after Prohibition and an originator in what became a movement. When New Albion closed, Don and Michael got the equipment to use for Mendocino Brewing. Kevin worked at his father's brewery when he was growing up and then he worked for others including Napa Smith and Brian Hunt's Moonlight Brewing. He became very good at building breweries and is grateful for the mentoring and the opportunities he found in brewing. Russian River Brewing Co. is open in Santa Rosa on 4th St. and at their big Windsor location. Visit their website for up-to-date hours, menus, beers and more info. The Wolf House Brewing taproom is located at 131 E. 1st Street in Cloverdale. There are locals and others who come from pretty far away because “the word is getting out.” Burning Daylight is his Pilsner. He thinks it's the best beer he has made. They also have a beer called Therapy Session. Pilsners are hard to make and he credits Brian Hunt for teaching him about Lagers and Pilsners and he always has each strain of yeast available. They have a 9-barrel system so he brews 3 times a month or so. They plan to raise their capacity so they can get into more places. Kevin and his sister and brother-in-law, a chef, are partners in the brewery. They have a full menu including something called a Cloverdale Twinkie, which is a jumbo Jalapeño pepper stuffed with cream cheese, wrapped in bacon and deep fried. Wolf House Brewing has a pedigree behind it due to Kevin Lovett's personal history and experience. He grew up at the Hopland brewery taphouse. His first job was bussing tables in about 1995 so he got to be a part of it before it all changed. When he came back in 2005 it was an empty lot and now Ron Lindenbusch has turned it into a destination again. Wolf House and Hopland Tap would be a good two-fer for a day trip. They have a lot of live music, including lots of kinds of Rock (the old joke, “Music? We got both kinds! Country AND Western!”) Kevin Lovett will pour his Hazy beer at the Freshtival but he won't give it a name until he tastes it.

This episode we discuss three Chilean animated shorts from the last decade. All three cover the Pinochet era in Chile. https://www.imdb.com/title/tt3829254/ https://www.imdb.com/title/tt14825950/ https://www.imdb.com/title/tt8173728/

This week we get "culty" with THE WOLF HOUSE or LA CASA LOBO; inspired by the horror inflicted by the propaganda of the infamous Colonia Dignidad in Chile. Next week's movie is the Iranian-American vampire Western A GIRL WALKS HOME ALONE AT NIGHT. Stay spoopy ya'll! Timestamps: 0:00:00 Disclaimer 0:00:25 Intro 0:02:21 Hellos 0:07:46 Housekeeping 0:08:16 WWW 0:25:24 Wolf House 0:28:06 Background 0:38:12 Creators 0:41:23 Actors 0:42:39 Synopsis 0:43:04 Spoilers 0:43:17 Plot 1:11:11 Metaphores 1:12:23 Pros/Cons 1:17:00 GG Ratings 1:17:53 Ratings 1:19:14 Next Week: A Girl Walks Home Alone At Night 1:20:01 Goodbyes The Grindhouse Girls Podcast is created by Katie Dale and Brit Ray and edited by N. R. Moody. Royalty free music used: Ready Set Go and Outro White Smoke Copyright 2020 Grindhouse Girls Podcast This podcast uses the following third-party services for analysis: Podcorn - https://podcorn.com/privacy

Weddings! Beddings! Bloodshed! This week we're continuing to illuminate black creators by covering Bill Gunn's vampire horror film GANJA AND HESS. Whether you've seen Bill Gunn's artful original version, or the highly edited "Blaxploitation" version dubbed BLOOD COUPLE, this film will solidify itself in your memory as a standout in low-budget 1970's horror. Next week we're watching THE WOLF HOUSE. Stay spoopy ya'll! Timestamps: 0:00:18 Intro 0:02:34 Hellos 0:04:39 Housekeeping 0:05:15 WWW 0:29:31 Ganja and Hess 0:32:35 Writer/Director 0:40:54 Blood Couple 0:42:42 Spoilers 0:42:50 Synopsis 0:43:46 Plot 1:35:14 Pros/Cons 1:43:02 Ratings/GG Ratings 1:44:46 Next Week: THe Wolf House 1:45:51 Goodbyes The Grindhouse Girls Podcast is created by Katie Dale and Brit Ray and edited by N. R. Moody. Royalty free music used: Ready Set Go and Outro White Smoke Copyright 2020 Grindhouse Girls Podcast This podcast uses the following third-party services for analysis: Podcorn - https://podcorn.com/privacy

The theme for the week is: Unorthodox Use of Animation and Genre in Films Mikey P. Jr. and John Patterson descend into Chile and Japan for their respective picks with the theme in mind. Twitter: Mikey P. Jr.  John Patterson

Sagen wir, wie's ist: Wir haben eine Schwäche für musikalische Biopics. Da ist es auch nicht verwunderlich, dass wir nach unserer letzten Folge mit Musicals Lust darauf hatten, “Respect”, den neuen Streifen über das Leben von Aretha Franklin, zu sehen. Von der Kritik ist der Film mäßig aufgenommen worden - aber haben wir ein Herz übrig für das trällernde Goldkehlchen? Hört es euch an! Anschließend fliehen wir zum Thema “weirder Shit” aus der Colonia Dignidad mit “La Casa Lobo”, reiten durch die wahnwitzigen Hirnfurze Jodorowskys in “El Topo” und erklären der Bürokratie den Krieg mit “Brazil”. _______________________________________ SPOILERWARNUNG: (1:44:10) bis zum Ende: Respect [2021] _______________________________________ Hauptfilm: (11:46) Respect [2021] Weirde Filme: (35:33): La Casa Lobo [2018] (53:11): El Topo [1970] (1:08:59): Brazil [1985] (1:41:22): Ausblick auf die nächste Folge (1:44:10): Spoilerpart zu: Respect [2021] _______________________________________ Hier kannst du uns überall finden: iTunes/Apple Podcasts: https://apple.co/2TgWvY3 Spotify: https://spoti.fi/34jfB68 YouTube: https://www.youtube.com/c/JahierFilmePodcast RSS-Feed: https://jahierfilme.podcaster.de/ Instagram: @jahierfilme Twitter: @jahierfilme Linktree: https://linktr.ee/jahierfilme _______________________________________ Alle unsere Filme im Überblick: https://letterboxd.com/jahierfilme/lists/ _______________________________________ Ahoi und viel Spaß - Hoffi, Deedz und Jan

Episode 42! Whatchoo Watchin Bout (3:05) - It's Such a Beautiful Day (3:20) - Faust (6:35) - The Feast (9:20) - Hawkeye S1 (11:15) - Netflix's Cowboy Bebop (14:45) - Foundation & 3D Printed FX (20:40) Almost Trailer Trailer (26:00) Wolfwalkers (28:20) The Wolf House (39:45) April and the Extraordinary World (1:03:35) CineTron-3000 (1:19:00)

Welcome to part two of Invasion of the Remake's annual horror movie challenge in which each host watched 31 movies over the 31 days of October which we have never seen before. Which ones will make you jump in terror and which ones will make your eyes bleed? We'll spill our guts on the good and bad in our conclusion to 31 Days of Horror! Sam's List: 17. Borgman (2013, Netherlands), 18. Idila aka Idyll aka Killbillies (2015, Slovenia), 19. Horsehead (2014, France), 20. The Wolf House (2018, Chile), 21. Treehouse (2014, US/UK), 22. Sensoria (2015, Sweden), 23. Jug Face (2013, US), 24. Let's Scare Julie (2019, US) , 25, Werewolf (2015, Poland, Netherlands, German), 26. The Doll (2017, Mongolia), 27. Alpha ( 2014, Greece), 28. Hell Night (1981, US), 29. The Tag-Along (2015, Taiwan), 30. Strangled (2016, Hungary), 31. Phantasm (1979, US) Trish's List: 17. Bad Candy (2020, US), 18. Zombie for Sale (2019, South Korea), 19. The Boat (2018, UK/Malta), 20. The Thing That Couldn't Die (1958, US), 21. Sky Sharks (2020, Germany), 22. Night Teeth (2021, US), 23. Escape Room: Tournament of Champions (2021, US), 24. Devil (2010, US), 25. Bingo Hell (2021, US), 26. Sacrifice (2020, UK), 27. Werewolves Within (2021, US), 28. Dark Woods (2003, Norway), 29. The Columnist (2021, Netherlands), 30. When the Darkness Comes (2014, Greenland), 31. Thirst (2019, Iceland) Jason's List: 17. Tremors: Shrieker Island (2020, US), 18. Lord of Tears (2013, UK), 19. Till Death (2021, US), 20. The Empty Man (2020, US/UK/South Africa), 21. Tigers Are Not Afraid (2017, Mexico), 22. The Manson Brothers Midnight Zombie Massacre (2021, US), 23. Anything For Jackson (2020, Canada), 24. The Conjuring: The Devil Made Me Do It (2021, US/UK), 25. Malignant (2021, US/China), 26. Werewolves Within (2021, US), 27. Bloody Hell (2020, Australia/US), 28. Spiral: From the Book of Saw (2021, US/Canada), 29. Don't Breathe 2 (2021, US/Serbia), 30. Candyman (2021,US/Canada/Australia), 31. Halloween Kills (2021, US/UK)

Luke and Dan review: the only day of the year where you can dress up as Colonel Gaddafi and have a drink bought for you; what Katie Price tells Harvey when he asks about his face; and how the post box would have read if Little Red Riding Hood didn't pull off one of the biggest sporting upsets of all time.To watch the podcast: https://www.youtube.com/watch?v=vBYBZfmetSUFor more nonsense: www.twitter.com/15_podSupport the show (https://www.buymeacoffee.com/15podcast)

CW: Sexual Assault - Our discussion of Werewolf Island contains brief mention of rape/sexual assault scenes portrayed in the film. If you prefer to avoid this topic of conversation, it starts at 01:00:31 and ends at 01:03:01. Recorded October 10, 2021 | Edited by Dylan It's Halloween, so it's time to get spooky! And what's spookier than wasting six hours of our lives? Time is fleeting and death comes for us all! OOOOOoooooOOo! We tag in OG Bargain Fella Dylan (no, not that Dylan) to tackle four microbudget werewolf features courtesy of Wild Eye Entertainment. From the found footage thrills of Wolf House and Cold Ground, to the horror-comedy chills of The Snarling, to the spills of Werewolf Island, Bargain Binge covers it all. Trick or treat? Smell my feet? Give me something good to eat? All this and more on Bargain Binge - the last bastion of physical media and your wallet!   Find Bargain Binge on the internet here: Website: bargainbingepod.com Email: bargainbingepod@gmail.com Twitter: @BargainBingePod Instagram: @BargainBingePod Clips & Bonus Videos: YouTube T-Shirts & More: shop.bargainbingepod.com Stickers: PayPal

What's that you say? Cartoons are for kids? Well, lucky for you this isn't a cartoon -- it's a creepy stop motion animation from Chile and it's messed up. You need to watch La Casa Lobo with your own eyeballs to appreciate it in all its glory. But if you haven't seen it yet and want to dip your toes in this pool of terror, tune in to our discussion. But then immediately go watch it because you need to. You're welcome! Movie Summary: Once upon a time - in the heart of the 20th century - there was a remote and secretive colony ensconced within central Chile from which nobody could escape...while Colonia Dignidad was known for its sweet honey, surrounding communities whispered of numerous, rumored atrocities committed within the reinforced boundaries of the commune. Conceived and tyrannically run by former Nazi Paul Schäfer, Colonia's covert activities ranged from politically sanctioned torture - on behalf of Augusto Pinochet's military dictatorship - to Schäfer's personally orchestrated crimes against the children of Colonia. Inspired by a reported case, THE WOLF HOUSE testifies on behalf of semi-fictionalized Colonia captive Maria, a young German girl punished for releasing two beloved pigs. Maria escapes with her 'children' and finds false refuge within a supernaturally sentient house with the capacity to betray Colonia Dignidad's infamous legacy. -- IMDB Support our podcast: Membership at https://www.patreon.com/nightmaremoviepodcast One time donation at https://www.buymeacoffee.com/nightmarepod https://www.nightmaremoviepodcast.com

A haunted house on a deserted island that straddles an international border, what could be scarier? Enjoy “Wolf House” Here's a direct link to the entire. Listen free! https://www.spreaker.com/user/4755531/wolf-house-the-frozen-frights-podcast And a link to the Frozen Frights podcast: https://www.spreaker.com/show/the-frozen-frights-podcast

Animated films are supposed to be cute, right? They aren't supposed to make you uncomfortable or freaked out or anything, right?! Wrong. This week we tackle two stop-motion animated horror films: “Coraline” and “The Wolf House”. If you want to follow along with the podcast, next episode we will be chatting about both feature films from noted weirdo and nepotism beneficiary, Panos Cosmatos! We will be discussing “Mandy” and “Beyond the Black Rainbow”. Send an email with double feature suggestions, feedback or other topics to cinephilesdigest@gmail.com Original Music provided by Kurt Moren dreamsofsilentmemories.com/

A movie that was seemingly constructed for Randy's enjoyment doesn't resonate, Clark is still concerned for Paul Schrader's breathing and Russell teases a movie that he will talk about next week.   Films: Kill Tony (TV), Obezyana straus i mogila (Monkey Ostrich and Grave) (2017), The Nowhere Inn (2021), The Card Counter (2021), Girls Trip (2017), Kandisha (2020), Zola (2020), Lemon (2017), Mulholland Drive (2001), True Stories (1986), XX (2017), The Wolf House (2018), Candyman (2021), American Mary (2012), Bloody Mary (2006), First Reformed (2017), Moon Knight (2022), Inside (2007), The Hill and the Hole (2019), Dirty Work (1998), Comedy Central Roast of Bob Saget (TV)   Hey, we're on YouTube!  Listening on an iPhone? Don't forget to rate us on iTunes!   Fill our fe-mailbag by emailing us at Podcast@TheOverlookTheatre.com    Reach us on Instagram (@theoverlooktheatre) Facebook (@theoverlookhour) Twitter (@OverlookHour)

Most of this episode is spend on "Malignant". Spoilers concerning "Malignant" are nigh (43:43 - 01:14:00), so get your affairs in order. Other than that- Clark snaps at Russell in the beginning. (Not really, but I'm a salesman, baby)    Films: Fingers (2019), Mogul Mowgli (2020), Malignant (2021), High-Rise (2015), The Card Counter (2021), The Greasy Strangler (2016), An Evening with Beverly Luff Linn (2018), Sound of Metal (2019), The Lost Okoroshi (2019), Nightcrawler (2014), The Wolf House (2018), Underwater (2020), The Superdeep (2020), Basket Case (1982), The New York Ripper (1982), Hereditary (2018), Death Drop Gorgeous (2020), Moonlight (2016), Knife + Heart (2018), Inside (2007), Kandisha (2020), The Triangle (2016) Hey, we're on YouTube!  Listening on an iPhone? Don't forget to rate us on iTunes!   Fill our fe-mailbag by emailing us at Podcast@TheOverlookTheatre.com    Reach us on Instagram (@theoverlooktheatre) Facebook (@theoverlookhour) Twitter (@OverlookHour)

Today we are continuing the timeline journey with The Lost Hero story break: The Wolf House, from pages  468 to 518 with special guest Caitlin from PercabethfeelsFandom on Instagram! To support the show, be sure to find us on Instagram and Twitter @bestdamcamppod. If you'd like to get your thoughts across, you can email us at thebestdamcamp@hotmail.com. Percy Jackson Merchandise. For more Percy Jackson content check out Fran's YouTube channel A Healthy Dose of Fran and support her via Patreon. Nickel Anarchy: Instagram and Redbubble Taylor Paisley-French: Instagram, Twitter, YouTube, and Spotify _________________________ Everyone needs a little help now and then, and that's OK. If you or someone you know, need support or maybe you just need someone to understand, there is always someone to call. CheckPoint provides Mental Health Hotline numbers Worldwide. Remember, it's OK to not be OK. https://checkpointorg.com/global/ _________________________ Black Lives Matter links and resources: Ways to Help PLEASE SIGN PETITIONS, DONATE, CALL AND EMAIL TO DEMAND JUSTICE, AND SHARE Twitter Thread on how to support if you have no money Support for the Black Trans Community Twitter Thread for Black Creative Talent to support Advice on how to support from the UK Who to donate too 8 Lessons I Learned About Racism That Were Helpful to me a White Person Support Protestors Racism and the UK Checkpoint World Wide Mental Health Hotlines Stand With and Support the Asian community: Asian Lives Matter Resources Stand Against Hatred Stop AAPI Hate America's History of Scape-Goating its Asian citizens Support for the Trans community: How Black Trans People All About Trans Website Stonewall Website Support UK Mermaids Charity

Episode 286 is about one of the most unusual films your hosts have ever discussed on the show. “The Wolf House” (2018) is a feature length animated film by Chilean filmmakers Joaquin Cocina and Cristobal Leon. To explain it would take too long, so just see it and listen to the episode! Find us on Instagram, where we are @chewingthescenery or easily find us on Facebook. Chewing the Scenery can be found on Soundcloud, iTunes and Stitcher. Please rate, review and subscribe- it really does help listeners find us! #horror #horrormovies #horrornerd #horroraddict #horrorjunkie #monsterkid #bmovie #scarymovies #monstermovie #podcast #chewingthescenery #zombies #zombie #VHS #moviemonsters #freepodcast #denver #colorado #everydayishalloween #halloween #horrorpodcast #thewolfhouse #joaquincocina #cristoballeon #amaliakassai #ranerkrause

Do you like horror movies, as well as nerd shit? Well get stoked, because we've got the ultimate episode for you. This week we're tackling a pair of video game adaptations. Join us for a discussion of "Resident Evil" and "Silent Hill", featuring special guest Kurt Moren! If you want to follow along with the podcast, the next episode is going to feature two stop-motion animated horror films! We will be discussing “Coraline” and “The Wolf House”. Send an email with double feature suggestions, feedback or other topics to cinephilesdigest@gmail.com Original Music provided by Kurt Moren dreamsofsilentmemories.com/

HOSTS:KurtSteveTaylor Tremble is a unique horror movie podcast that explores the different sub-genres of horror to find the best that horror has to offer. On this episode, the crew dives into The Wolf House. You can send emails to us at mailbag@threeangrynerds.com. Do it, we love your emails. You can also join us on our... Read More

HOSTS:KurtSteveTaylor Tremble is a unique horror movie podcast that explores the different sub-genres of horror to find the best that horror has to offer. On this episode, the crew dives into The Wolf House. You can send emails to us at mailbag@threeangrynerds.com. Do it, we love your emails. You can also join us on our... Read More

Having escaped a colony of German fanatics, Maria finds refuge in a house in the woods, occupied by two pigs. She takes care of them like siblings, as they start to turn into humans, all the while a wolf taunts her from outside. This nightmarish stop motion film directed by Joaquin Cociña and Cristóbal León is a darkly surreal haunted house fairy tale, where every surface is constantly shifting uneasily while characters are continuously deconstructed and reconstructed. A wonderfully unsettling debut from Chile that we hope you will enjoy listening to us talk about. Our recommendations for this episodes are King Star King - https://en.wikipedia.org/wiki/King_Star_King Pixote, Héctor Babenco - https://en.wikipedia.org/wiki/Pixote Get in touch with us at: unpleasantmovies@protonmail.com https://www.instagram.com/unpleasantmovies/ https://mubi.com/lists/unpleasant-movies https://www.goodreads.com/list/show/152393.Unpleasant_Movies_Readinglist

Welcome back to another bonus episode of TGIF. For this episode, I am joined by producer, director, and writer Ariel Baska. We dive into the different social justice issues that are portrayed throughout the horror movies Possessor, His House, and The Wolf House. Follow Ariel - Twitter Follow Our First Priority - Twitter and Instagram Back the Our First Priority Kickstarter Campaign Follow TGIF - Twitter, Instagram, and Letterboxd Join the Discord Support on Ko-Fi

For tonight's shift, Kyle & Abby screened the Chilean stop-motion animated horror film THE WOLF HOUSE (2020). This curious film tells the story of Maria, a young woman who takes refuge in a house in southern Chile after escaping from a German colony.  Is it any good? Well, give this review a listen and find out...if you DAAAaaaare!Already seen it? Let us know your thoughts!OMINOUS MEDIA LINKS:WebsiteNewsletterInstagramYouTubeKYLE LINKS:InstagramTwitterABBY LINKS:InstagramJupiter Coffee Company MUSIC:Intro - Cory NelsonOutro - Karl Casey @ White Bat Audio

It’s time to talk animation! Join the gang as they discuss animated films from around the world that they’ve recently seen. You might find a great recommendation or two! Guests: Carl Joseph Papa (Director: Paglisan, Manang Biring) Pat Apura (Studio Nonego, Jet and the Pet Rangers) Films Discussed: Belladonna of Sadness (1973) Flavors of Youth (2018) Patlabor the Movie 2 (1993) Angel’s Egg (1985) Pokemon Mewtwo Strikes Back: Evolution (2019) The Wolf House (2018) The Tragedy of Man (2011) I Lost my Body (2019) Paglisan (2018) Notes: We tried to avoid them as much as we can, but spoilers are present for all the films discussed in this episode.

Luke and Erik do their best to adapt to the rapidly changing entertainment industry: segments include reviews of old favorites, new releases, and really, really bad movies. Oh, and there are also BIRTHDAY PRESENTS! New Releases: Scoob, Capone, Have a Good Trip, The Wolf House Reel Stinker: Hackers If you are interested in being a part of the program and having your review read on our show, email us at voiceboxoffice@gmail.com!  Please note: All types of correspondence are encouraged: film reviews, work stories, reports on how your movie theater's popcorn tastes, and so on. If you would like to remain anonymous, you certainly have that option, but please indicate that in your email.

Simmons, in the spotlight! This week, Pete and Matt break down Agents of SHIELD episode 205, "A Hen in the Wolf house." The podcast discusses the introduction of Bobbi Morse, the mystery of The Doctor, and Coulson's... map?MP3iTunes